Sara Ravelli | Tamed Love

Artists

We are happy to announce the release of the podcast Tamed Love, a conversation between Sara Ravelli and curator Giada Olivotto about our show, online on Lumpen Station.
You can listen to it at the following link: 
TamedLove_LumpenEmbassy

 

Schiavo Zoppelli Gallery is glad to present the first solo show at the gallery by Sara Ravelli (Crema 1993).

Ravelli's practice stems from the communicative potential of images that are interpreted and transferred mainly into sculptural and installation form. Questioning the sentimental charge of objects and the idea of compromised, traumatised functionality, the artist emphasizes tensions between social contexts and emotionality. In her recent research, Sara Ravelli focused on the relationship between human, animal and object, specifically analysing the dynamics and instruments of domestication. Affection, power and control coexist and contaminate each other in a relational process, manifesting themselves through a wide range of tools, various equipment and multiform apparatus. By collecting a series of stories, experienced personally or by third parties, the artist has compiled a collection of tales in which the interactions between humans and animals are the protagonists.
Affective experiences, news stories and scientific evidence are mixed and create new narratives, which become preliminary "case studies" revised through subjective interpretation.

Tamed Love and Feeder, the two installations on show, narrow the field of investigation respectively to disguise as a form of control and nutrition as an affective mechanism.

In Tamed Love, the artist assembles costumes similar to those worn by horses in parades, races and special events. Each fabric is selected because it evokes a specific imagery: quilt and polyester allude to the domestic and caring sphere, while nylon to performance. Clothing is used as a distinctive identity as much as specific garments are used with the animals. The braids made of rope recall decoration as much as constriction, and so do the other components. Some elements are soaked in salt, a nutritious food for horses, but also a substance linked to the idea of sweating, of physical effort.
The dressing is pure artifice and anthropisation of the animal, devoid of practical utility and useful exclusively for the aesthetic gratification of the human being, which triggers a short circuit between the animal seen as an instrument and the animal seen as a subject of care and attention. The horse's body is, at the same time, controlled, caressed, protected and constrained.

The Feeder curtain, inspired by the language of traditionally soft and cosy animal beds, envelop the space. The work consists of two curtains made of fleece, quilted fabric and satin. Raw clay elements, remindful of teats used for nursing, decorate the curtains. When cubs are left without a mother, feeding is carried out by means of artificial prostheses, including feeding bottles. The feeding device generates a bond of dependence between man and puppy, which inevitably becomes a vehicle for nutritional and emotional care.